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Journal articles on the topic 'Surrealism'
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1
Ortiz, María Mercedes. "Alquímicamente surrealista: la pintura de Remedios Varo." La Manzana de la Discordia 6, no. 2 (March 18, 2016): 85. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v6i2.1501.
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Resumen: En este ensayo, se exploran las posibilidadesde la escritura automática como un ejerciciode creatividad basado los planteamientos delsurrealismo, en especial de André Breton. La autoraexplica sus experiencias con este tipo de escritura,en las cuales comenzó contemplando cuadros de lapintora surrealista Remedios Varo, a modo de inspiración,indagando también sobre las relacionesentre la mujer y este tipo de creación.Palabras clave: surrealismo, pintura, RemediosVaro, mujerAlchemically Surrealist: Remedios Varo’s paintingAbstract: This essay explores the possibilities ofautomatic writing as an exercise in creativity basedon the tenets of surrealism, especially those ofAndré Breton. The author explains her experienceswith this type of writing, in which she began bycontemplating paintings by the surrealist painter,Remedios Varo, by way of inspiration, inquiring aswell as the relations between woman and this typeof creation.Key Words: surrealism, painting, RemediosVaro, woman
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Ungureanu, Delia. "Island Politics." Journal of World Literature 3, no. 3 (August 10, 2018): 311–33. http://dx.doi.org/10.1163/24056480-00303006.
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Abstract In 1929, the father of surrealism André Breton and his friends published a “world map in the time of the surrealists,” which placed the Pacific in the center with a disappearing Europe and a nonexistent USA, and showing oversized islands from New Guinea to Ireland. During the 1930s, surrealist ideas and practices were creatively transformed beyond recognition by marginal writers who had emigrated to and/or excommunicated surrealists living in Paris. Looking beyond Casanova’s and Moretti’s centers and (semi)peripheries that organize the world system, I argue that by thinking instead of cultural centers like Paris as inhabited simultaneously both by central but also by (semi)peripheral writers we may get new and more nuanced insights into the circulation and transformation of ideas beyond the traditional story of surrealism told by literary histories. Using the example of the French translation of Joyce’s “Anna Livia Plurabelle,” I uncover the hidden story of the transformation of Joyce’s text into a surrealist cognate from the peripheries of surrealism itself.
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Konstantinou, Christina. "100 Years of Surrealist Imagination: Releasing the Bird from the Cage." International Journal of Surrealism 2, no. 1 (September 2024): 73–87. http://dx.doi.org/10.1353/ijs.2024.a943390.
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Abstract: This essay examines Surrealism’s relation to the precious concept of freedom by studying the surrealist conception of the imagination, in particular André Breton’s thoughts on imagination and poetry in the "Manifesto of Surrealism" (1924). In order to appreciate Breton’s influence across Europe, the essay shifts its focus onto Czech Surrealism, emphasizing the contradictions and similarities between Bretonian and Czech surrealist thinking through the inclusion of sources and excerpts by members of the Czechoslovak surrealist group—especially by Vratislav Effenberger—as well as fragments from a personal interview with Surrealist Jan Švankmajer. The essay considers the relationship between critical thinking and imagination; according to the Czechoslovak surrealist group, imagination enables individuals to be aware of the deteriorating state of their critical faculties which have been impacted by “formalized civilization.” Based on the doctrine of dialectics, Effenberger views imagination as a negating force that becomes a “furnace” in which conscious and unconscious components are molded together, potentially expressed in the form of concrete irrationality, which can be considered as an expression of surrealist negation of negation . Essentially, Surrealism and the surrealist conception of imagination allow individuals to realize—apart from the failure of their critical thinking—the deteriorating state of all of civilization. In this way, Surrealism and imagination become associated within the concept of freedom since they are the means of gaining a superior awareness of reality.
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Winks, Christopher. "Snakecharmers and Nascent Oxygen: André Breton and the American Marvelous." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (November 10, 2003): 85–98. http://dx.doi.org/10.22201/ffyl.poligrafias.2003.4.1630.
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As André Breton and his fellow surrealists never tired of affirming, the transformative surrealizing impulse long antedated the surrealist moment (hence the movement's interest in developing and reconfiguring a force-field of multiple traditions or anti-canons). To some degree, surrealism's truth lay outside the movement proper, and a fortiori outside individual creative works, which while they could approximate certain dreams, obsessions, or lived moments, were but intimations of a greater revelation. Surrealism can best be described in terms of its constant search, articulated from Breton's 1924 Manifeste du surréalisme onward, for the marvelous, that gold of time that dwelled, no longer in the philosopher's stone, but in the unexpected turning points and encounters of daily life.
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Kuçuku, Bora. "Surrealism, an Exalting Freedom: The Sexual and Erotic Dimension." European Journal of Social Science Education and Research 9, no. 1 (January 1, 2022): 33. http://dx.doi.org/10.26417/120ixy78.
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This article aims at exploring the sexual factor, which sensitized and even scandalized the contemporaries of Surrealism. The tendency for a different kind of freedom put the Surrealist movement at the forefront of the changes that happened in the twentieth century. The Surrealists became aware that sexuality was becoming a source of huge scandals and debates and they thought of using it as an “attack” weapon. In the Second Surrealist Manifesto, Breton calls upon every Surrealist “to level at the breed of ‘moral duties’ the long-range weapon of sexual cynicism ».
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Lee, Jinhee, and Jaejoon Lee. "The Logic of the Uncanny: On the Role of Uncanny and Representation in Hal Foster's Analysis of Surrealism." Sookmyung Research Institute of Humanities 14 (June 30, 2023): 149–74. http://dx.doi.org/10.37123/th.2023.14.149.
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Hal Foster shares his basic stance with Rosalind Krauss in the analysis of Surrealism. He focus is internal criticism of Surrealists; the common writing style and Automatism agreed by Surrealist Manifesto are quite inappropriate for the expression of paintings. And he accommodates uncanny logic to solve this problem. Uncanny is an ontological panic associated with the accidental revealing of something fundamentally oppressed. The purpose of this discussion is to reappraise about the logic of the uncanny in Foster's Surrealism to supplement for the problem of representation that he could not analysis. This is representation and representational images were a fundamental and important expression of Surrealism that sought to realize the interpretation of dreams. For this discussion, we suggest the internal contradiction of Surrealism along Foster and Krauss. Furthermore, we reveal that the fundamental part of this internal contradictions is matter of representation, which is ontologically a problem of self-identity and a problem of narcissistic double and likeness as presented in Freud's analysis of the uncanny. Finally, it uses this as a basis for a reinterpretation of the uncanny logic employed in Foster's analysis of surrealism.
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Miller, C. F. B. "Surrealism's Homophobia." October 173 (September 2020): 207–29. http://dx.doi.org/10.1162/octo_a_00408.
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The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André Breton, who convened the meetings and edited the transcript, repeatedly denounced male homosexuality. The problematics of these repudiations are the topics of this article, the intention of which is to map the historical conditions of Breton's heteronormativity and to outline the latter's function in his theory of Surrealism. To this end, the essay displaces the psychoanalytic emphasis customary in Surrealism's reception in order to locate the movement in the historical discourse of sexuality. In the French culture wars of the 1920s, Surrealism mobilized a sexual negativity against the mainstream. Yet in certain key respects, Breton's thought preserved a heterosexist logic of conjugality. Ultimately, a historical reading of Surrealism's homophobia indicates the family ties between dialectical idealism and heteronormativity.
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Leveque, James. "Surrealism and the ‘Fissured Subject’: Breton, Éluard, and Desnos." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 11 (December 12, 2010): 1–21. http://dx.doi.org/10.2218/forum.11.655.
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Although known as one of the most doctrinaire movements of the historical avant-garde – mostly due to Breton’s intense theorising and dominating personality – individual Surrealists approached the problem of the divided and decentred subject from substantially different angles. Surrealism began as a poetic movement around the circle of Breton, Soupault, Louis Aragon, Paul Éluard, Benjamin Péret, and Robert Desnos. By the end of the 1930s most had broken with Breton, if not the foundational tenets of the movement itself. This study examines collections of Surrealist poetry from the mid-1930s from Breton, Éluard, and Desnos as examples of the variant understandings of the subject within Surrealism. Breton published The Air of the Water (1934) in the midst of his most intense articulation of Surrealist theory in Communicating Vessels (1932) and Mad Love (1937); Éluard published Public Rose (1934), Easy (1935), and The Covered Forehead (1936) just a few years before his break with Breton in 1938; The Neck-less (1934) was published by Desnos a half-decade after being ‘excommunicated’ from the Surrealist group by Breton, though he never ceased to consider himself a Surrealist. In each case, the poet’s understanding of the ‘fissured subject’ and his vision of the potential for that subject is both Surrealist and entirely individual.
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Sousa, Rui. "Mário Cesariny’s Perspective on Portuguese and International Surrealism: Dialogue and Distinction." Caietele Echinox 47 (December 1, 2024): 223–45. https://doi.org/10.24193/cechinox.2024.47.14.
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The present paper aims to offer an overview on the surrealist movement’s reception in Portugal, as well as the perspectives adopted by Portuguese surrealists from a peripheral position in the international panorama. In addition to approaching certain critical aspects characteristic to Surrealism in Portugal, the present paper also traces the path that leads from the marginalization and obscurity of the main authors and episodes of Portuguese Surrealism outside of national borders to the increasing international recognition of the Portuguese groups and main authors. This shift is largely attributed to the historiographical and promotional work carried out by Mário Cesariny de Vasconcelos, a poet and artist who will serve as the primary reference in my overview.
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Bracken, Patrick. "Psychiatry and Surrealism." Bulletin of the Royal College of Psychiatrists 10, no. 4 (April 1986): 80–81. http://dx.doi.org/10.1192/pb.10.4.80.
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A recent edition of the Bulletin contained a letter which was originally published in La Révolution Surréaliste 60 years ago. The letter was probably written by André Breton and was basically an attack on psychiatry as then practised in France and in particular on the process of involuntary admission. The letter appeared in the Bulletin under the title ‘An Historical Vignette: Surrealism and Anti-Psychiatry’. While there can be little doubt that the surrealists were antagonistic to psychiatry I would like to argue that a great deal of their work is of potential interest to psychiatrists. The surrealist movement was opposed to any form of rationalism. It was opposed to anything which could possibly limit the imagination and this was the source of its conflict with psychiatry. But surrealist art and literature was essentially an exploration of the bizarre, the irrational and the unconscious and these are subjects which are, of necessity, of importance to the psychiatrist and the psychotherapist.
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Busch, Kathrin. "Subversion des Bildes." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 54. Heft 1 54, no. 1 (2009): 13–29. http://dx.doi.org/10.28937/1000106146.
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Die weitreichende Bedeutung des Surrealismus für die sogenannte postmoderne Philosophie ist unbestritten. Vermittelt über Autoren wie Bataille oder Artaud konnte die im Surrealismus formulierte Skepsis gegenüber der Vernunft und die Revisionen der Subjekttheorie philosophisch wirksam werden. Daß darüber hinaus auch das Denken des Bildes wesentliche Impulse aus dem Surrealismus erhalten hat, blieb demgegenüber weitestgehend unbeachtet. Der Aufsatz will die Relevanz der surrealistischen Bildauffassung für die französische Philosophie aufweisen und zeigen, daß es vor allem der pathische oder obsessive Charakter des Bildes ist, den die surrealistische Malerei herausstellt und der in der Diskussion um die Krise der bildlichen Repräsentation einflußreich wird. It is widely acknowledged that surrealism has had a profound impact on postmodern philosophy. The skepticism that surrealism brought to bear on rationality and its revisionist influence on theories of the subject have been received in philosophical literature through writings such as those of Bataille or Artaud. However, current discourse has largely failed to recognize the wider influence surrealism has exerted on the theoretical study of the image. This essay aims to show the relevance of a surrealistic understanding of the image for contemporary French philosophy, and to argue that it is most of all the substantial contribution surrealist painting has made in pointing up the obsessive character of the image that is in fact a major influence on the debate concerning the crisis of and in pictorial representation.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Прадівлянна, Людмила. "СЮРРЕАЛІСТИЧНА ПОЕЗІЯ В КОНТЕКСТІ ЛІНГВОПОЕТИЧНИХ ЕКСПЕРИМЕНТІВ ЄВРОПЕЙСЬКОГО АВАНГАРДУ." Journal of Cross-Cultural Education, no. 4 (December 30, 2024): 58–66. https://doi.org/10.31652/2786-9083-2024-4-58-66.
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This article analyzes the linguistic and poetic experiments of the surrealists within the broader context of the avant-garde movements that preceded them. By reviewing the ideas and theoretical works of Romantic poets, Symbolists, Futurists, and Dadaists, the study identifies key generalizations about the nature of their linguistic experimentation and evaluates their influence on the poetics of surrealism. The research demonstrates that a characteristic feature of most avant-garde schools was their dissatisfaction with the expressive potential of language, which was perceived as an imperfect tool for conveying thought and reflecting the rapid social and cultural changes of the early 20th century. In response, avant-garde movements rebelled against conventional linguistic norms, undertaking poetic experiments to create a new form of poetry in a liberated, rule-free language. The study examines the principles inherited by surrealists from their predecessors and analyzes the aesthetic concepts central to surrealism. It summarizes the perspectives of surrealist theorists and practitioners regarding the linguistic tools employed to construct surrealistic imagery. The findings reveal that the surrealists' approach to the artistic word significantly diverged from that of other avant-garde schools. Where others perceived absurdity or lack of sense, surrealists discovered latent, often esoteric meanings. For surrealists, language was not a flawed medium but a key to authentic knowledge untainted by centuries of cultural tradition. In their pursuit of deeper expression, surrealist poets turned to automatic writing, a technique that became a defining feature of the movement for several years. Through the creation of the "Laboratory of Surrealist Studies," these poets conducted experiments at the intersection of linguistics and psychology. Their goal was to rediscover an "authentic and genuine" language, explore its imaginative and creative potential, and restore a man’s harmony with an inner nature uncorrupted by imposed cultural values.
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Emrali, Refa. "Surrealist inheritance in drawing." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 143–48. http://dx.doi.org/10.18844/prosoc.v2i1.291.
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Sequential movements in history of art have led to revolutions during the times they originated. Thereafter, they maintained their existence in work of art with their indications. These heritages artists have acquired take them away from their pasts, bring them to present, and at this very point where past and present intersect, enable them to view future. Drawing is the origin of creative practice in all plastic arts, from painting to architecture. Artistic contemplation begins with nature we are part of and a familiar object close by. Examining entity and life-drawing teaches us how to observe. Identifying and contrasting objects are only complete with mathematical discipline, coordination of eyes and hands, and finally with a self-styled line of plastics. In the present paper, drawing is explained in relation to the influence of surrealism. To this end, quotations of portray able examples of our memories’ and dreams’ nonvisible worlds, rather than drawings of entities confined in their external appearances, are given. Line, emerging from imitating the visible, has responded to the messages of the unconscious. This paper examines the drawings of three surrealist artists, namely, Alberto Giacometti, Paul Klee, and Réne Magritte. According to surrealists, the unconscious does not aim solely for the creativity of meaningless facts, yet, it establishes a relationship between facts and objects in human contemplation. In this context, surrealist creation is a rich synthesis for drawing. Today, surrealist aspects can be seen in many drawings. Surrealism will continue to update itself and influence artists’ imagination post its time.Keywords: Drawing, surrealism, dream, nature
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Foster, Victoria. "The Return of the Surreal: Towards a Poetic and Playful Sociology." Qualitative Sociology Review 15, no. 1 (May 24, 2019): 148–64. http://dx.doi.org/10.18778/1733-8077.15.1.07.
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This article argues that the time is ripe to reacquaint sociology and surrealism. Taking inspiration from surrealism’s emphasis on making the ordinary strange through bizarre, lively and sometimes haunting methods might result in a more poetic and playful sociology. The article looks at how this might be applied in practice through drawing on a variety of examples of social research that share some of the tenets of surrealism, not least the latter’s focus on social justice. This enables discussion of a number of methodological concerns stemming from feminist and post-structuralist thought, including the troubling of narrative coherency and the notion of “voice.” Infusing sociology with “a surrealist spirit” requires opening up and moving away from rationality in ways that allow for the exploration of contradictions, irreverence, humor, and paradox.
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Pradivlianna, Liudmyla. "DREAM AND REALITY IN THE POETRY OF DAVID GASCOIGNE (LINGUISTIC ANALYSIS OF THE POEM AND THE SEVENTH DREAM IS THE DREAM OF ISIS)." Odessa Linguistic Journal, no. 12 (2018): 32–38. http://dx.doi.org/10.32837/2312-3192/12/5.
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Surrealism, the XX century literature and art movement, inspired an impressive number of scientific research regarding different aspects of the phenomenon. This paper studies surrealism as a type of artistic thinking which raised the role of the unconscious in poetry. It focuses on the core of surrealist aesthetics – an automatic image, which allowed the poets to study human irrational states, such as dreams. Focusing on the themes of dreams and dream-like narrations, surrealists created poetry which was formed by specific images. An automatic image coming directly from one’s unconscious mind was expected to reveal new knowledge about the world and people. But as the poet ’functions’ only as a conductor of the unconscious images, it is the reader who has to create meanings in this kind of poetry.The paper regards surrealism in terms of a lingvo-poetic experiment and analyzes the linguistic characteristics of the automatic texts in the early poetic collection of David Gascoyne (1916–2001). It outlines the peculiarities of the British poet’s techniques which are built upon French surrealist concepts and theories and examines phonetic, semantic and syntactic aspects of his poetry. David Gascoyne’s lyrics demonstrates the poet’s commitment to the French version of surrealism, his interest in the unconscious and dream-like narration. The streams of arbitrary visual images, deep emotionality, the artistic use of the word, semantic increments of meaning make Gascoigne’s texts open to interpretation. And though the poet actually refers visual effects (we rather see dreams), specific dream-like patterns are created not only by lexical, but also by phonetic repetitions, via intonation in which lexemes acquire a new semantic load.
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GIULIODORI, Lucio, Aisana BOLDYREVA, Anna BOBUNOVA, and Vladislav BORANENKOV. "Surrealism Between Psychological Investigation And Artistic Commitment." WISDOM 14, no. 1 (March 24, 2020): 167–74. http://dx.doi.org/10.24234/wisdom.v14i1.306.
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Deciphering the mysteries of the unconscious was one of the central aims of Surrealists who, in order to achieve this goal, experimented with the most different techniques. The unconscious, displaying the contents that then can be painted, turned to be both a way to embark on an inner exploration and a source of creativity.
My paper firstly sheds light onto this marriage of art and psychology which, in Surrealism, harmoniously blended generating a fascinating and fruitful combination between creation and self-creation - art as a tool of self-knowledge and even inner evolution is one of the main consequences.
Lastly this study examines the surrealist scene today, considering how and why, through the decades, the painters’ aims changed and why we should or shouldn’t still call them “Surrealists”.
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Ulrich, Silvia. "Surrealistische Spuren in Walter Serners Kriminalgeschichten. Beispiele aus dem Band “Zum blauen Affen (1921)”." Otago German Studies 32 (March 5, 2025): 242–65. https://doi.org/10.11157/ogs-vol32id493.
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This paper examines surrealist traces in selected stories from Walter Serner's Zum blauen Affen (1921). The first section addresses humor as a core feature of Serner's narrative strategy, while the second explores Eros as a central motif. The final section engages with the theoretical perspectives of Walter Benjamin and the French surrealists, probing whether Serner’s use of surrealist elements serves merely as a critique of dada or extends to challenge the avant-garde more broadly—including surrealism itself—by counterposing his own vision of the relationship between reality and fiction, a vision that Serner consistently grounds in parody.
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Eburne, Jonathan P. "Surrealism in the Imperfect." Otago German Studies 32 (March 5, 2025): 30–67. https://doi.org/10.11157/ogs-vol32id487.
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Inspired by Walter Benjamin’s encounters with surrealism in Paris during the late 1920s and early 1930s, “Surrealism in the Imperfect” proceeds from a reflection on browsing for books as a formative period of research. The article focuses on the history of post-WWII surrealist publishing and the turn-of-the-millennium remainder market as terrain for reconsidering Benjamin’s notion of “profane illumination” as consistent with the surrealist movement’s project of revaluing the concept of value.
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Urbancová, Linda. "Emilio Adolfo Westphalen, un surrealista a medias." Studia Romanistica 21, no. 2 (December 2021): 61–68. http://dx.doi.org/10.15452/sr.2021.21.0010.
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Emilio Adolfo Westphalen, a Semi-Surrealist. This work aims to establish similarities between surrealist poetry and the poetry of the Peruvian poet Emilio Adolfo Westphalen. The first part of the text is aiming to outline main characteristics of avant-garde literature in Peru between the years 1920 and 1930 and the process of implantation of a surrealist movement born in Europe. The mentioned process of implantation was hard and complex, especially, because it clashed with the local political system and partial renunciation of the previous movements such as Modernism, Symbolism, and Romanticism. Also, French surrealism had to face literary Peruvian critics who were not ready for the arrival of something new. Consequently, Emilio Adolfo Westphalen expressed his discontent over the fossilized literary critic and his poet friends in his correspondence and essays. Westphalen was not only interested in the surrealism of others, but he was also interested in surrealism for his poetry. Our study is based particularly on the following sources: the essays of Emilio Adolfo Westphalen, the surrealist theory included in the Manifestoes of Surrealism, and the critical works by Mirko Lauer, Américo Ferrari, etc.
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Pikkov, Ülo. "Surrealist Sources of Eastern European Animation Film." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 28–43. http://dx.doi.org/10.1515/bsmr-2015-0003.
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Abstract This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continuation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.
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Shik, Ida A. "Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 326–43. http://dx.doi.org/10.21638/spbu15.2023.207.
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In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle of “encounter of images”, surreality. He used experimental techniques (negative print, solarization, photomontage) and aimed to demonstrate the limitless creative possibilities of photography as well as the Surrealists. Uelsmann appealed to archetypal images which provided his works by intellectual simplicity and external showiness that contributed to the popularity of his photomontages and their strong influence on the development of contemporary manipulative photography. Uelsmann set a kind of “standard” for photo-Surrealism of the late 20th–21st centuries: these are technically perfect photomontages that require a high level of professional skills and time expenditure. Many of Jerry Uelsmann’s motives and ideas found parallels in contemporary digital photography. Among their common features it’s possible to single out concentration on the inner world of the person, interest in archetypes and symbols, the desire to poeticize nature, and the introduction of elements of mass culture into hybrid images.
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Park, Seungbae. "Surrealism Is Not an Alternative to Scientific Realism." Logos & Episteme 10, no. 4 (2019): 379–93. http://dx.doi.org/10.5840/logos-episteme201910435.
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Surrealism holds that observables behave as if T were true, whereas scientific realism holds that T is true. Surrealism and scientific realism give different explanations of why T is empirically adequate. According to surrealism, T is empirically adequate because observables behave as if it were true. According to scientific realism, T is empirically adequate because it is true. I argue that the surrealist explanation merely clarifies the concept of empirical adequacy, whereas the realist explanation makes an inductive inference about T. Therefore, the surrealist explanation is a conceptual one, whereas the realist explanation is an empirical one, and the former is not an alternative to the latter.
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Lamas, Gabriel Bustilho. "Por um conceito de revolução surrealista." Cadernos de Literatura Comparada, no. 49 (2023): 33–59. http://dx.doi.org/10.21747/21832242/litcomp49a2.
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This article seeks, through texts from the magazines La Révolution surréaliste (1924-1929) and Le Surréalisme au service de la révolution (1930-1933), to think about what would be the “surrealist revolution” that Breton and company sought in the early years of the movement. This will be done by going through the ideas that the surrealists manifested about the revolution (both their own and that of others, more specifically, the communist revolution). In addition, it will also be necessary to reinsert, within surrealism, one of its most important dissidents, Antonin Artaud, who was expelled precisely because of the debate about what the “surrealist revolution” would be.
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Foucault, Anne. "Questioning the Avant-Garde." Journal of Avant-Garde Studies 4, no. 2 (August 15, 2024): 256–78. http://dx.doi.org/10.1163/25896377-00402004.
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Abstract The global symbolic destitution that was at the core of the revolutionary months of May and June 1968 forced the Parisian surrealist group to entirely rethink its vocabulary and means of action. The aim of this article is to study these fundamental evolutions marking a shift in surrealism’s history regarding its relationship to an avant-gardist conception of revolution, still inherited, despite the rupture with the French Communist Party, from a Leninist scope. The Paris Surrealist collective, as such, was no longer effective and dissolved itself in the protest movement. Analyzing surrealist commitments in different action committees allows us to understand how these organizing structures representative of May ’68 confront surrealism, including its own internal functioning. It also gives new clues for understanding the dissolution, a few months later, of the Parisian surrealist group.
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Parkinson, Gavin. "Surrealism and Quantum Mechanics: Dispersal and Fragmentation in Art, Life, and Physics." Science in Context 17, no. 4 (December 2004): 557–77. http://dx.doi.org/10.1017/s0269889704000262.
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ArgumentBy the time the members of the Surrealist group had fled Paris and dispersed at the beginning of World War II, they had taken account of quantum mechanics and were seeking various ways of assimilating its findings into Surrealist theory. This can be detected in writings issuing from the Surrealist milieu as early as the late 1920s. However, while writers and thinkers outside the field of physics swiftly expressed their awareness of the epistemological crisis brought about by quantum mechanics, Surrealism's artists began to conscript the concepts and imagery of modern physics into their work only at the end of the 1930s. Focusing on two “second generation” Surrealist painters, the Chilean Roberto Matta and the Viennese Wolfgang Paalen, this article discusses the peculiar difficulties faced by artists in finding a language for the “new reality” revealed by the physicists, and argues that the relocation of Surrealism in a discursive field which includes quantum physics discloses the rationale behind its artists' shift to a semi-abstract language.
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Huo, Dan, and Fan Yang. "Application of Western Surrealistic in Design of Landscape Architecture." Applied Mechanics and Materials 226-228 (November 2012): 2394–97. http://dx.doi.org/10.4028/www.scientific.net/amm.226-228.2394.
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Surrealism was the twentieth century’s longest lasting art movement in the arts. It explored the mysterious dream world of the unconscious mind. Surrealist works depict a familiar yet alien world of dreamlike serenity and nightmarish fantasy, and their legacy pervades much of contemporary art, literature, film and popular culture. As a representation of irrational aesthetics in the modern art trends, it is worthwhile to study the influence and construction of Surrealism in modern landscape architecture. This paper explores the modern landscape form under the influence of Surrealism Art by analyzing and investigating the intrinsic relationship between Surrealist Art and the modern landscape architecture. Besides that, this paper described the connection between surreal spirit and Chinese landscape architecture design term metaphor of “presence”.
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Oprescu, Florin. "La Beauté CONVULSIVE et les convulsions du roman surréaliste. Nadja (1928, A. Breton) et Zenobia (1985, G. Naum)." Numéro spécial 23, no. 2 (December 15, 2023): 191–98. http://dx.doi.org/10.4467/20843917rc.23.020.18514.
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The CONVULSIVE Beauty and the Convulsions of the Surrealist Novel. Nadja (1928, A. Breton) and Zenobia (1985, G. Naum) The article examines some of the communicating vessels (« vases communicants ») between André Breton’s theoretical surrealism and Gellu Naum’s neo-surrealism praxis. The focus of the analysis is also on the intersection points among the two novels, Nadja (1928) and Zenobia (1985), defining moments of beginning and of the last surrealism. The aim is to determine the synthetic (theoretical and practical) manifesto of Breton’s novel, Nadja, and the pure poetic act of the last European surrealist novel, Zenobia. Although the correspondences seemed clarified by Romanian literary criticism, the present article offers a new, in-depth and contrastive perspective on the « convulsive beauty », from theory to practice.
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Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.
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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.
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Prokudin, Gleb Andreevich. "Afro-surrealism in screen arts as an experience of the Otherworldly." Культура и искусство, no. 4 (April 2024): 103–15. http://dx.doi.org/10.7256/2454-0625.2024.4.70370.
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This article is a study of such an original trend in art as "Afro-surrealism". The study contains an excursion into the history of this phenomenon, but special attention is paid to the special connection of the genre of Afro-surrealism with the realm of the otherworldly. The genre, being an offshoot of the general group of surrealist trends, tends to create images that cross the line of rational reality, in other words, Afro-surrealist works by their nature strive for knowledge of the otherworldly. Nevertheless, Afro-surrealism contains unique structural elements and techniques that make it possible to separate it from classical surrealism and make it a rich material for research. The purpose of the article is to examine the history of the genre, as well as some works in the genre of Afro–surrealism and, using their example, based on the "Manifesto of Afro-Surrealism" to identify special elements of language and demonstrate how they help to reveal the otherworldly reality of the work. The main research method in this article is a systematic film analysis. The special structural elements of the film language and their role in the isolation of the genre are the focus of the research. The results of the study can be considered the very fact of highlighting a cultural phenomenon, since this genre is quite young and unique for a group of authors belonging to the same cultural group. In this regard, the phenomenon is practically unknown and extremely poorly studied in the Russian-language scientific literature. In addition to analyzing the historical and theoretical foundations of the genre, this article identifies special elements of the language of works, thanks to which the view of the problem of the otherworldly acquires a special philosophical depth, turning into a question about the limits of knowledge and mystical experience. The article analyzes in detail some of the images created by the authors of the series "Atlanta", and also draws a parallel between this series and David Lynch's older surrealist work "Twin Peaks", which allows us to more specifically draw a line separating "classic" surrealism from Afro-surrealism.
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James, Alison. "The Surrealism of the Habitual: From Poetic Language to the Prose of Life." Paragraph 34, no. 3 (November 2011): 406–22. http://dx.doi.org/10.3366/para.2011.0033.
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This article argues that the later philosophy of Wittgenstein has significant affinities with surrealist approaches to the ordinary. It links the question of ordinary language first to the dilemmas of poetic speech after Mallarmé, then to a current of thought on everyday life that emerges in France in the wake of surrealism (Lefebvre, Blanchot, Certeau). Finally, a reading of prose texts by Breton and Aragon brings together these two lines of argument, demonstrating that surrealism appeals to ordinary language and everyday life as a remedy against the threat of scepticism. Surrealist manipulations of language are less a departure from the real than an attempt both to restore and to renew the human relation with the world. Obscured by its very familiarity, the everyday comes into view as what Cavell calls the ‘surrealism of the habitual’.
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Παπαθεοδώρου, Γιάννης. "ΓΙΑΝΝΗΣ ΠΑΠΑΘΕΟΔΩΡΟΥ, «Αλλά τους τρελλούς τους κλείνουν εις τα φρενοκομεία». Υπερρεαλισμός, ψυχανάλυση και ηθικός πανικός στη δεκαετία του ’30." Σύγκριση 31 (December 28, 2022): 120–32. http://dx.doi.org/10.12681/comparison.31279.
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“Crazy people should be locked up in the asylum”. Surrealism, psychoanalysis and moral panics in ‘30s. In this paper, I discuss the ways in which the reception of psychoanalysis through surrealism diffused into the wider social discourse of popular culture during the interwar period. My central argument is that surrealism in Greece was connected to intellectual and mental illness. Thus, the concept of "scandal" is inscribed in the rhetoric of “moral panics”, that "paranoid modernism" causes. The polemic against surrealism emphasized its relationship with madness and the “margins” of the literary canon. On the other hand, this “cultural blockage” became a very productive field for surrealist poets to gain their own artistic autonomy.
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Franco, António Cândido. "«Os Surrealistas», no centenário de Mário Cesariny e de Mário-Henrique Leiria." e-Letras com Vida - Revista de Estudos Globais: Humanidades, Ciências e Artes, no. 11 (December 30, 2023): 65–79. http://dx.doi.org/10.53943/elcv.0223_65-79.
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This article seeks to examine the roots of the organized surrealism in Portugal, in the second half of the 1940s, starting with the dialogue between two young poets, Mário Cesariny and Alexandre O’Neill, who were instrumental in the formation of the Surrealist Group of Lisbon (1947-1950). An attempt is made to understand the tensions that erupted within this group, leading to the resignation and departure of Mário Cesariny and António Domingues in the summer of 1948 and the subsequent formation of the group «The Surrealists» (1949-1952). This group emerged from encounters with a new set of personalities, including notable figures such as Cruzeiro Seixas, António Maria Lisboa, and Mário-Henrique Leiria, providing a renewed consistency to surrealist intervention in Portugal.
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Spiteri, Raymond. "Surrealism in the Shadow of the French–Algerian War." Journal of Avant-Garde Studies 4, no. 2 (August 15, 2024): 185–215. http://dx.doi.org/10.1163/25896377-00402001.
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Abstract The French–Algerian War (1954–1962) was a key event in post-WWII French history. It coincided with a renewal of the French surrealist movement, with the publication of a new review, Le Surréalisme, même (1956–1960), and a major group exhibition in 1959, Exposition intéRnatiOnale du Surréalisme (EROS). What effect did the French–Algerian War have on surrealism? The surrealists not only supported Algerian independence, but they were also involved in the intellectual opposition to the war, participating in numerous initiatives supporting the Algerian cause. Yet, despite this evidence, the picture that emerges is curiously fragmented, suggesting in retrospect that the war was more a shadowy presence than an overriding concern during this period.
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Francesca, Vagnoni, and Scopelliti Paolo. "Breton’s Hatchet: A Dream Simulation at the Confluence between Surrealism and AI." Clinical Psychology, Psychotherapy and Counseling 1, no. 1 (September 24, 2024): 001–4. http://dx.doi.org/10.17352/cppc.000001.
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Many recent experiences done by AI in the fields of augmented creativity and computational art are full of unleashing the algorithms’ surrealist power. Surrealism, the avant-garde movement Breton launched in 1924 in Paris, combined his artistic needs with those of nascent psychoanalysis: so, dream stories, automatic writing and simulations of mental illnesses allowed historical surrealism to make a notable contribution to the development of psychoanalysis. Now that neuroscience and AI are joining both psychoanalysis and Surrealism, the absence of dream simulation in historical surrealism is even more striking. Dream Simulation is by now a new psychotherapeutic strategy, conceived in Italy by Dr. Francesca Vagnoni, which presents interesting points of contact with the experiments the French neurosurrealist group Obvious is carrying out by AI.
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Spiteri, Raymond. "Max Ernst in 1929: Collage and the Politics of the Outmoded." Otago German Studies 32 (March 5, 2025): 68–103. https://doi.org/10.11157/ogs-vol32id489.
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In 1929, Max Ernst returned to collage with La Femme 100 têtes, a cycle of 147 collages with brief captions. Although collage had been central to Ernst's early work, he shifted to frottage after the 1924 Surrealist Manifesto. This paper explores Ernst’s return to collage amid a critical moment of division within the surrealist movement, polarized by debates over surrealism's revolutionary role, collective creativity, and its relationship to political action. In this context, La Femme 100 têtes exemplifies how collage, with its use of ambiguity and refashioning of outdated materials, navigated the cultural and political impasse surrealism faced. The work challenged the modernist avant-garde’s aesthetic project, adopting a position beyond art but before politics. However, collage’s subversive potential was ultimately absorbed into art history as a new cultural form.
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Wango, Kamau. "How Students Think: Efficacy of Surrealism as an Avenue for the Generation and Expression of Thought among Fine Art Students at Kenyatta University, Nairobi, Kenya." East African Journal of Arts and Social Sciences 7, no. 2 (December 19, 2024): 394–433. https://doi.org/10.37284/eajass.7.2.2535.
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Surrealism is one of the most fascinating expressive genres of Art and seems to engage students in a very profound manner in the way they perceive themselves, the essence of their individuality, their inherent ideas, emotions and thought processes. In retrospect, it can be viewed from the perspective that it provides a unique opportunity for individual students to express points of view from imageries that emanate from the state of their minds. At the University level, surrealism particularly in drawing, has emerged as a potent visual consolidation of the ability of students to galvanize thoughtfulness that applies to their personal psyche and general outlook towards occurrences and upheavals in their lives. This study sought to examine how students think through surrealist inspirations as a basis of their imaginative work and the extent to which they were able to internalize and embed the basic tenets of surrealism such as distortion of forms, bizarreness of composition or grotesqueness in artistic compositions of their own. The study also sought to determine if indeed these new surrealist compositions carried any social message that was derived from the drawings themselves in order to underscore possible contextual meaning. The final year cohort of students involved in this study had not done any surrealist work before and were introduced to the concept of surrealism and its potential for individual expression through the discussion of selected previous works of past students at the same level. This was deemed useful as they were able to initially internalize the nature of compositions and the possible derivation of surrealist images such as those that manifest in the subconscious mind and other dreamlike dispensations. The students subsequently produced a significant body of work from which pieces were selected for this study using the criteria of visual impact such as profoundness of the surrealism, level of execution using pencil and social message. The analysis of the work was done using the analytical framework provided. The students were engaged in weekly class presentations of their individual work that provided the opportunity for critiquing
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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου." Σύγκριση 31 (December 28, 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.
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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a child who grows up.” This reception of myth should be situated in the context of the French surrealists’ endeavour to formulate a new collective mythology that would respond to the political and social environment of the interwar years. This collective mythology resorted to cultural topoi that were deemed countercultural, marginalised or anti-Enlightenment, ranging from primitive, prehistoric and Gothic art to magic, alchemy and mythological traditions of archaic or non-European cultures. In this framework, surrealist myth was reconfigured as a new poetic language in constant metamorphosis that could articulate through diverse media and cultural traditions the surrealist vision for the radical transformation of the world. In Greece the appropriations of classical myth were central to the modernist canon. However, the Greek surrealists transformed myth in subversive ways initiating a dialogue with the present in the light of anthropology, ethnography, history of religions and psychoanalysis. Recent research has shown that Embeirikos and Engonopoulos conversed with French Surrealism and their colleagues’ engagement with alternative epistemologies and comparative religion and mythology, participating to a fecund renegotiation of the past. This paper aims at contributing to the revision of the history of Surrealism in Greece by exploring the function of myth, both as intermedial language and discursive practice, in Engonopoulos’s work. Most specifically, it purports to investigate the poetic anthologies Do not Speak to the Driver (1938) and The Clavichords of Silence (1939) alongside visual works he created at the end of the 1930s, such as the drawing SO4H2 (1937), and the engraving Vierge inviolable, métaphysique et surréaliste-sonore (1930s). The subtitles given initially to the aforementioned anthologies allude to the comparison of the arts and the equation of poetry and painting in an alchemical fusion pursued by the historical avant-gardes and Surrealism. Engonopoulos’s work and his experimentations with image-making should be revisited within this context and seen as a paradigm of the formulation of a new myth that sought to interweave the visual arts, poetry and alternative epistemologies into a revolutionary, hybrid form of expression that could effect the individual and society.
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Buekens, Filip. "Lacans conceptueel surrealisme / Lacan's conceptual surrealism." Krisis 7, no. 2 (June 2006): 17–35. http://dx.doi.org/10.1347/kris.7.2.17.
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Um, Sung Won. "Cho Hyang’s Poetics Research." Korean Association for Literacy 14, no. 6 (December 31, 2023): 513–36. http://dx.doi.org/10.37736/kjlr.2023.12.14.6.18.
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This study provides a diachronic overview of Cho Hyang’s poetics and traces the meaning of the unique surrealist ideas he pursued. He did not unilaterally accept Western surrealism, but tried to transform it in his own way and pioneer our own surrealism.
Cho Hyang did not recognize a single signified and worked hard to dismantle it, and aimed for pure freedom by destroying existing ideas and liberating humans from reason and rationality. In addition, he chose Surrealist aesthetics to overcome Dada, and through this he explored the language of the unconscious rather than a rationalistic language based on reason.
The reason he paid attention to psychoanalysis is because it criticizes modern reason, focusing on the exploration of the unconscious. Although he placed importance on the image itself, on the other hand, he did not give up the world of meaning and believed that the harmful effects of modern industrial society could be overcome through the primitivism of surrealism.
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Cole, Lori. "Between Surrealism and Abstraction in Chile: The Decembristas in Print." H-ART. Revista de historia, teoría y crítica de arte, no. 17 (July 31, 2024): 187–213. http://dx.doi.org/10.25025/hart17.2024.07.
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Frequently hailed as the first exhibition of surrealist art in Latin America, the 1935 exhibition organized in Lima by the Peruvian poet and artist César Moro, with the help of the Chilean artist María Valencia, in fact featured work by a group of Chilean artists known as the “Decembristas.” The Chilean poet Vicente Huidobro wrote for the 1933 catalogue, which primarily promoted abstraction. Moro’s exhibition, the group’s third, was identified as surrealist through its provocative catalogue and by its presence in the “Surrealism around the World” spread in Minotaure. Both Huidobro and Moro spent time in Paris and are cited as introducing Surrealism to Latin America. Moro in part claimed these artists as surrealist as an affront to Huidobro, dedicating a page in the catalogue to denouncing him. In turn, Huidobro published a scathing rebuttal of Moro in his magazine Vital, pitting many of the Decembristas against Moro. This essay traces the Decembristas’ exhibition histories and their print corollaries—including two magazines started by the Decembristas themselves—to examine the tension between Surrealism and abstraction and how these discourses were mobilized by Moro and Huidobro toward their own ends.
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Widiyanti, Dhyani. "Representation of the Female Body as a Substance of Contemporary Ornamentation in Metal Jewelry." Corak 13, no. 2 (November 30, 2024): 143–54. https://doi.org/10.24821/corak.v13i2.13723.
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This study explores the role of surrealism in metal jewelry design as it pertains to the representation of the female body. The research focuses on the works of three contemporary metal jewelry artists from Etsy, examining how their creations utilize surrealism to express experiences of castration and fetishism, as theorized by Freud. It investigates the interplay between functionality and unconventional forms, highlighting how surrealism allows for a critique of traditional gender norms and a subversion of established visual conventions. By employing literature studies and visual analysis, the research demonstrates how these surrealist elements in metal jewelry serve as a medium for expressing complex narratives about femininity, identity, and bodily autonomy. The findings contribute to a deeper understanding of how surrealism can be a powerful tool in challenging and reinterpreting conventional representations of the female body in contemporary art.
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Bou, Enric. "Fragmentary writing in J.V. Foix’s surrealist criticism and poetry." Journal of Romance Studies 23, no. 4 (December 2023): 487–509. http://dx.doi.org/10.3828/jrs.2023.22.
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This article addresses a little-known episode in the surrealist movement: the adventurous (if not hindered) integration of surrealism into Iberian literature and art, particularly J.V. Foix’s intervention through critical (in La Publicitat ) and poetical writing ( Gertrudis , 1927, and KRTU , 1932), and his collaboration with Salvador Dalí and Joan Miró. Foix accomplished the dynamic process of transforming and reconfiguring the meaning and function of surrealist aesthetics in Catalonia in a complex network and context. Reading Foix not only as a philological issue, but also against an international background, and from the fragmentary writing perspective, will enrich traditional approaches and provide an insight into Catalan surrealism.
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Vasina, Daria. "The Early Poetry of Nikos Engonopoulos: Aspects of the Embodiment of Imagery." Stephanos Peer reviewed multilanguage scientific journal 59, no. 3 (May 31, 2023): 113–19. http://dx.doi.org/10.24249/2309-9917-2023-59-3-113-119.
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The article is devoted to the imagery in the first two poetry books “Do Not Distract the Driver” and “The Clavichords of Silence” by Nikos Engonopoulos, one of the brightest representatives of Greek surrealism. In his early works, the poet follows surrealist principles, the main of which is the principle of building paradoxical, illogical connections between ordinary objects. With the help of such connections it is considered possible to comprehend surreality. At the same time, the absurdity of images is not tantamount to incomprehensibility: their repetitions and use in various contexts made it possible to single out several key images and offer their interpretation in this article.
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Alnazarova, G. "Revisiting Correlations between Real and Imaginary in Space of Surrealism." Bulletin of the Innovative University of Eurasia 82, no. 2 (June 24, 2021): 9–14. http://dx.doi.org/10.37788/2021-2/9-14.
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Main problem: this article deals with the research of surrealism which is not just one of ordinal modernism directions or one of many isms in the art of the 20th century, but which appears as a universal phenomenon in the culture of the epoch, reflecting its main features; surrealism has risen many issues substantive for culture modernity, and resolutions of which are worthy in-depth study. Purpose: to determine the meaning of the unconscious when building a surrealistic world picture and show the relationship and interinfluence of the arts and reality, real and imaginary within the frames defined by surrealism. Methods: the study is based on philosophical and art review of literary and art works performed by surrealists. In various manifestos and works made by surrealism figures it is traced the intention to penetrate into the depth of human psycho using dreams and different mental illnesses. It is known about the enormous impact that the discoveries made in the field of psychoanalysis had on the development of Surrealist philosophy. So, the method of free associations was popular, which was actively used by the Austrian scientist Z. Freud in his medical practice, talking with the patient and analyzing his dreams, the doctor with the help of key symbols revealed the cause of the neurosis, and the surrealists were attracted by the research of the Swiss psychiatrist C. Jung, devoted to the analysis of archetypes and symbols in the lives of various peoples. Results and their importance: practical significance of the study is related to the following circumstances: the necessity to make sense for the reasons of the crisis which encompasses the culture today, the search of possibilities and ways to recover it; u this work’s materials can be also used in research of creations of young Kazakhstan avant-garde artists. The research materials can also be used in the practice of teaching philosophy, cultural science, psychology, and other humanitarian disciplines and also in work of fine art experts and museum staff; based on the materials of this research, the special courses on culture philosophy, culturology, esthetics and theory of arts can be developed.
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Hansen, Catherine. "Surrealism Is a Thing: Rubrics and Objectivation in the Surrealist Periodical, 1924–2015." ARTMargins 5, no. 3 (October 2016): 62–81. http://dx.doi.org/10.1162/artm_a_00158.
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What links the existing international surrealist movement—a network of groups who publish their essays and collective experiments in an array of print and online periodicals—to the 20th-century Surrealism of art history textbooks is, to a large extent, its periodical publishing practices. This article pays particular attention to the periodical rubric (defined as a heading or category under which a certain kind of text or image serially appears) and contextualizes its surrealist use within a broader poetics of “objectivation.” In Surrealism, objectivation is the creation of a “thing,” which is to say a form of doing or thinking that acquires a name and locus around which a social collectivity can coalesce. The article explores this process as it becomes manifest in the various rubrics used in surrealist periodicals past and present.
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Sousa, Rui. "Surrealismo Português e Surrealismo Internacional a partir da correspondência de Mário Cesariny com Sérgio Lima, Laurens Vancrevel e Frida Vancrevel." Cadernos de Literatura Comparada, no. 49 (2023): 11–31. http://dx.doi.org/10.21747/21832242/litcomp49a1.
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From the end of the 1960s onwards, Mário Cesariny established a prolific dialogue with the international surrealist movement, with repercussions on the way in which the Portuguese Surrealism came to be considered. In this paper, I propose a perspective on Cesariny's critical intervention in a moment of transition in the panorama of the international surrealist movement, represented, on the one hand, by a certain decentralization in relation to the Parisian paradigm and, on the other hand, by the pluralization of surrealist groups. Cesariny's correspondence with the Brazilian Sergio Lima and with the Dutch Laurens and Frida Vancrevel are taken as a starting point, articulated with his critical and anthological activity. These epistolography contains the fundamental aspects of Cesariny's criticism of the limitations of the narrative disseminated internationally regarding the Portuguese case and its integration in the context of a critical review of Surrealism.
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Harendika, Melania Shinta. "Surrealism in Budi Darma’s Laki – Laki Pemanggul Goni (The Man Carrying the Sack): A Comparative Study." Language Circle: Journal of Language and Literature 12, no. 2 (April 24, 2018): 165–72. http://dx.doi.org/10.15294/lc.v12i2.14175.
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Laki – laki Pemanggul Goni is one of Budi Darma‘s short stories. It was firstly published in Kompas, 26 February 2012, and was then translated by Andy Fuller in 2015. Lontar Foundation published the translated version along with the other translated Budi Darma‘s short stories in a book entitled Conversations. Budi Darma is famous of his surrealist work. It is reflected also in Laki – laki Pemanggul Goni. Therefore, this study was intended to find whether its‘ English version conveyed exactly the same characteristics of surrealism as it was in the original version. Bassnett‘s translation as comparative studies, Popovics‘ types of translation equivalence, and Breton‘s surrealism in literature were implemented as the theoretical framework. This study found that both versions did not convey precisely the identical characteristics of surrealism. The Indonesian version‘s surrealism is stronger than it is in the English version. It might occur because of the cultural gap between the author‘s and the translator‘s.
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Morar, Ovidiu. "Paul Celan and Surrealism." Philologica Jassyensia 40, no. 2 (December 31, 2024): 243–51. https://doi.org/10.60133/pj.2024.2.19.
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This essay tries to emphasize the strong connections between Paul Celan’s poetic writing and Surrealism. The poet suffered the major influence of Surrealist aesthetics in the years spent in Bucharest (1945-1947), when he participated in the meetings of the Romanian Surrealist group made of the poets Gellu Naum, Gherasim Luca, Paul Paun and Virgil Teodorescu and the painetr Dolfi Trost. Nevertheless, not only his Romanian writings but also his German poems were influenced by Surrealism, as they mixed his main obsessions (the Jewish tragic condition, the Holocaust, the impossible love, the hopeless suffering, etc.) in a continuous discourse that follows the same dream-like logic according to the Freudian mechanism of displacement, condensation and secondary elaboration. And his last poems combined foreign words and phrases taken from other languages in a deliberately eccentric German, this kind of approach being in a perfect agreement with the so-called ‘language deterritorialization’ done at the same time by Gherasim Luca, who invented an original poetic manner called by Gilles Deleuze ‘prodigious stuttering’.
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Bydžovská, Lenka. "„Lidská psycha je internacionální.“ K surrealismu a české dobové debatě." AUC PHILOSOPHICA ET HISTORICA 2021, no. 2 (October 1, 2024): 101–5. http://dx.doi.org/10.14712/24647055.2024.13.
Full textAbstract:
On the front page of the Czech-French International Bulletin of Surrealism, published in spring 1935 by the Surrealist Group in the Czechoslovakia in direct collaboration with André Breton and Paul Eluard, Vítězslav Nezval stressed the international character of this movement, which, in his words, abolished not only the boundaries between reality and dream, but also the boundaries between nations and languages. The strategy of the Czech interwar avant-garde, which in the 1920s confidently developed its own artistic trends and viewed surrealism with a critical distance that included both ideological and artistic reservations, is worth noting. This paper seeks to delineate the essential issues. Why did the Czech avant-garde join Surrealism in the 1930s, how did it justify its decision theoretically, and what role did it play in the international context? How did Breton’s desire to spread Surrealism across Europe and other continents relate to his demand, expressed in his 1953 Paris monograph Toyen, for a comparative study of the characteristics of art in different countries, based on the methods of experimental psychology and taking into account the specific political situation? And what lessons can be drawn from the current exhibition project Surrealism Beyond Borders?